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Digital clean up tools have improved greatly since 2008. There will be a 40 minute extra on the Blu-ray detailing the restoration: “One of the main extras will be a very detailed documentary look on how the film has been completely rescued from original Cinerama damaged negative elements.”
Bigjoe - they decided to spend the money to scan and restore the original negatives. Watch their intro to the recent MOMA screening CLICK HERE/
The Capitol’s grand re-opening after extensive renovations is tomorrow night:
Thank you for the mention, CCMPI. Those 10 years I spent up there were hard work but very rewarding.
CCPI - you are correct, I forget they ran the one CineMiracle movie.
The Bellevue wasn’t equipped for Cinerama, so you most likely saw your shows at the Clairidge in Montclair.
vindapar - the Blu-ray and new 4K of The Ten Commandments are absolutely spectacular, each is among the 10 best releases in its respective home video format.
I would assume as much, but that would really change the character of the place.
“…removing a majority of the seats to provide for both general admission and seated shows.”
Why would you remove seats? I’m hoping something was left out of that statement, otherwise you’ve got a raked floor with no seats.
Big Joe – it could be, but it’s not the kind of thing Warner does. They would want to perform a full restoration based on surviving negative, etc., elements.
You can use a release print, but it’s certainly not ideal; especially a Technicolor print as the contrast will build up too quickly. A studio like Warner would most likely not take that route. I don’t know how much the restoration of How the West Was Won cost – I think it was in the mid to high 6 figures – but Grimm would probably cost more.
Saw Rise of Skywalker in the XD house the other night. Nice comfortable heated recliners with armrest table for snacks. Picture was bright (a curse on theatre designers who don’t use movable masking, though) and sound was loud and clear (nice bass shakers in the seats), but was harmed by the too bright red aisle lights in the lower section. The lights are so bright you could cast a dark shadow on the screen even with house lights up and no film playing. Hurt the impact of the dark space scenes. If the film was 1.85 it would be even worse because the lower 3 feet would be completely blown out red by the lights. Going to send a nice note to the Cinemark people and hope they correct this mistake.
There’s no “bulb” to turn down in a Laser projector.
bigjoe – www.hometheaterforum.com
bigjoe – the faded print the article references is the roadshow version.
vindanpar – The SP Blu-ray is reasonably clear in describing it contains two versions and it does not claim to have “restored the roadshow version”:
The 157 minute “theatrical version” (should probably have said “general release version”, but “theatrical” is also accurate since the GR version is the one most people saw theatrically).
The 172 minute “roadshow version” (in the text Special Features listing they say “extended road show version” but they obviously meant “extended from the 157 minute version”). The grid below correctly states “172 minutes (Roadshow version)”
Nowhere on the package (at least the one I have from 2008) does it state anything that should make you say this: “Fox makes you think you are getting”.
If you want to more about Blu-ray’s, you might want to join us at the HomeTheaterForum.com
There is no such thing as a “245 minute version” of South Pacific.
The main feature on the South Pacific Blu-ray is the Fox FotoKem restoration of the general release version, running 2:37, from the original 65mm ToddAO elements as discussed in your link. It looks incredible on the disc, one of the half-dozen best that I have. The ‘roadshow version’ runs 2:52 and is presented as a bonus feature; to reconstruct it, they took the master of the restored general release version and cut in the missing scenes from that faded print mentioned in the article. Some of the reconstructed scenes look good, others less so.
Ice Station Zebra was shot in SuperPanavision 65mm for presentation in Cinerama. The current HD release reflects the full 2.20:1 aspect ratio – the Cinerama theatrical version would most likely have been cropped on the top and bottom.
People are slobs and it takes longer to clean out an auditorium of the trash. Plus, multiplexes need to arrange start and stop times so that they don’t have 4 shows breaking at the same time.
I hope so, the place has been an utter disaster the past few years, to the point where we could not find three seats together last time we went because so many were broken. Not to mention the terrible auditorium lighting (blue & orange aisle lights shining up on the screen), lack of staff (could have walked in without paying), and general unclean facility.
The Twilight Time Blu-ray of Judgment at Nuremberg is uncut and contains the roadshow elements. The Kino re-release is the same uncut version, but missing the Roadshow elements.
Shot twice – IIRC, they would do the setup for the Todd-AO first, then do the CinemaScope take after.
Yes, the IMAX version of mission Impossible Fallout had the changing aspect ratios; IIRC, it’s during only two sequences: the HALO jump and the helicopter chase/cliff fight.
I believe the Nolan Dark Knight films, Dunkirk, and few others have changing aspect ratios on their Blu-ray & 4K releases, mimicking the IMAX versions.
That Stanley Warner Triplex in that ad is the Route 4 theatre, not the Century Route 17 twin.
DEFG: thank you for the kind words – the 10 ½ years I spent doing those shows at the Lafayette were very rewarding.
Bigjoe – For the VHS and LaserDisc releases of Grimm the source they used was the 35mm ‘scope reduction of the Cinerama version that was created for the general release after the Roadshow. It’s cropped on the sides and the panel mis-matching and join lines are pretty visible. That version airs on TCM from time to time.